what are the essential elements of poetry? · what are the essential elements of poetry? monday, 27...

Revisiting things for the Second Time

What are the essential elements of poetry?

Monday, 27 January 14

A Paradox

The Real, the Imaginary

Seduction and ease of capturing “the real”


Key Conundrum

For animals their natural environment are a given for us reality is not a given, it has to be continually sought out,

held, salvaged. It is easy, particularly when capturing images, to oppose the real with the imaginary as if the first is always

at hand while the second is always distant, far away.


Filmmakers, after Vertov, would say this opposition is false. Events are always to hand but the coherence of these events, which is what is meant by the real, is an imaginative

construct.


The filmmakers I am showing you have a particular relationship to this idea of

construction not shared by all filmmakers. Some refer directly to the joints and architecture of

their work others leave this out of their references they require their audiences to

suspend belief.


If you strip away all the techniques, framing,

cameras, software etcWhat is essential for us to be good media makers?


Motion pictures were invented to look, tell, and study things.

They were mainly a scientific tool for seeing life in a different way. To be only spectacular should

be 5 or 10 percent of cinema. All the rest should be documentary study in a broad

sense, research and essays. (Godard in Sterritt, 1998: 176)


I will focus on a key moment in moving image production

The opposition between moving image as Mimesis moving image as Diegesis.

What is this opposition? (It doesn’t only refer to moving image but other art forms)


Mimesis/DiegisisMimesis,

describes a presentation in which the creator’s presence is ignored or disguised and the

audience or viewer or reader is addressed by someone other than the maker. A mimetic work is one in which the maker attempts to create the

illusion of being invisible or transparent and characters, narrative speak only for themselves.


Mimesis/DiegisisDiegesis describes a structure in a play or

any other artistic form in which the creator of the work does not ignore or disguise their own presence and addresses the

reader or viewer or audience directly. They draw attention to the form itself and show

how the form structures content to produce meaning. (Vertov Kino Eye)


Makers from late 1950’s onwards questioned the boundaries identifying

particular forms and utilised Dizga Vertov’s approach to do so.


1974 Bowery NY


Rosler


Jean Rouch

For me, cinema, making a film, is like surrealist painting, the use of the most real processes of

reproduction, the most photographic, but at the service of the unreal, of the bringing into being

of elements of the irrational (as in Magritte….)The postcard at the service of the

imaginary.


Jean Rouch Chronicle of a summer Paris 1961


How was that different to this?


Think really carefully about your response 10mins............

Both are documentaryBoth are not using professional actors

Both set up situations for the participants to interact


Jean Rouch

“To be able to leap from one place to another, that is the most cherished dream. To be able to go anywhere, to wander off

somewhere else as one wanders about in a dream. The mobile camera, the camera that walks and flies, we all share that dream. Simply because for me, to make a film is to write with one’s eyes, with one’s ears, with one’s body. Its got to get inside, to be at the

same time both invisible and present.”


Marker


Godard


Godard

"I think I am making more or less documentaries, but I don’t see much difference between these two

categories" (Godard in Sterritt, 1998: 176). He adds: "I’m half a novelist and half an essayist – which is not

admitted in the motion-picture world, and is very awkward." (Godard in Sterritt, Ibid.)


Your Themes

• Time

• Memory

Research:ApproachInfluences

StyleSoundText

Structure


Exercise 30 secs


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